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throwback, and retro jerseys. The list is in c a n ’ t l o o k p o o r 127 order of cost, a sliding scale from about fi fty dollars upward. Rep- lica jerseys are simply copies and can be copies of all the other types of jerseys. They are cheaply made in terms of type and quality of material and the craftsmanship and stitching. Swing- mans differ from the higher-end jerseys primarily in aesthet- ics. More creativity is used to produce new styles and even color schemes with the goal of drawing attention. Authentic means that it is made to the specifi cations of a

percent for the film and recording rights.14 Despite the frustrations, once everyone settled in, Kinshasa came alive with music and dance; “the mood was electric,” with lots of late- night parties fueled by the exuberance of the local musicians, as well as by alcohol and marijuana. When the festival began on September 22, the concert performances were joy- ful, usually going all night and ending at 4 a.m. On display were black Ameri- can soul and funk music at the height of their creativity. As Levine put it: “This was . . . the apex of rhythm and blues music in

the fi ckle eyes of spectators. Many ve- hicles played festive music over loudspeakers. The creativity and showman- ship of the participants endowed the publicity caravan with a carnivalesque quality. While the riders sped through villages on the itinerary in a matter of seconds, the advertisers’ colorful procession sometimes took up to an hour or more to pass. Sponsors worked the crowd into a frenzy with their manic bullhorn advertising and by occasionally distributing free gifts— pamphlets, toys, candy, key chains, collectibles, hats, or samples of their

popular and produced its own additional twist of excitement. The poetic tennis scoring system was more than a nostalgic gesture to its medieval origins; it did perhaps symbolise its courtly and monastic past. More importantly it recreated in the modern game its aesthetic possibilities and creativity. It was – and is – also intensely contemporary – indeed postmodern – in its eclectic elaboration and a reminder of the wonderful eccentricity of the game and indeed of so many of its players, at least in its early years. It remained a powerful exception to

painting. Rankings of the ‘greatest’ players based on how many tournaments, games, matches or anything else they won omit crucial qualities of beauty, excite- ment and creativity. Already mentioned and central to sporting ideology is an enduring belief in the moral superiority of sport and sportsmen. As soon as Andy Murray won Wimbledon in 2013 a rash of newspaper articles rushed to celebrate all the moral qualities supposedly revealed by virtue of his having won a tennis tour- nament. A similar reaction when, for example, Ian McKellen triumphed as Gandalf

to teach you: everyone is equal. Boxing, for me, has been about understanding, a chance to miti- gate the supreme narcissism we’re born with. I was a sheltered white kid growing up in rural New England; I needed a little damage to understand, for empathy, for comprehension. Damage is part of childbirth, of creation, of creativity, of growing up. I would argue that the end of the draft, the bombers, and the drones all extend our collective adolescence. Of course, getting punched in the face by an opponent of about your own size, wearing protective gear in a

quality of the clothing had deteriorated too.3 However innovative global players such as Nike had been to begin with, by the end of the first decade of the third millennium creativity had disappeared. Men appeared in T-shirts of uniform ugliness, in garish or safely ‘masculine’ colours, sometimes aggres- sively patterned. Almost all chose from the same few designs. The aesthetics of tennis dress had completely stalled. Something similar to what happened in mass-produced chil- dren’s clothes seemed to have struck the tennis world. Exagger- ated gender